French horn repertoire list. 1 January December 2019

Transcription

1 French horn repertoire list 1 January December 2019

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3 FRENCH HORN Contents Page LCM Publications... 3 Related Examinations... 3 Grade Grade Grade Grade Grade Grade Grade Grade Viva Voce Aural Tests This repertoire list should be read in conjunction with the current Music Grades Syllabus. Copies are available free of charge via our website, uwl.ac.uk/lcmexams, or from the LCM Examinations office. Please refer to the Music Grades Syllabus for full details about graded exams, recital grades, leisure play exams and performance awards. This repertoire list is valid from 1 January 2011 until 31 December 2019.

4 LCM Examinations Director of Examinations John Howard BA PhD FRSA Chief Examiner in Music Philip Aldred BEd FLCM University of West London LCM Examinations St Mary s Road Ealing London W5 5RF tel: +44 (0) lcm.exams@uwl.ac.uk uwl.ac.uk/lcmexams Copyright 2011 by the University of West London, LCM Examinations 2

5 Acknowledgement Grateful thanks are due to Ray Bidwell, the principal syllabus compiler. LCM Publications The following LCM Publications are relevant to this syllabus: Specimen Aural Tests (revised 2006) (LL189) LCM Aural Handbook: A Practical Guide to Teaching and Preparing for LCM Aural Tests (LL205) LCM Publications are distributed by Music Exchange (tel: ; mail@music-exchange.co.uk). A complete list of titles may be found on their website Related Examinations LCM Examinations offers examinations in a wide range of subjects, covering classical, jazz, pop/rock and traditional music genres. The following syllabuses may also be of interest. Graded and leisure play examinations for: Trumpet/Cornet/Flugelhorn, Trombone, Baritone/Euphonium, Tuba. Jazz Trumpet, Jazz Trombone. Performance diplomas (four levels) and teaching diplomas (three levels) for: French Horn, Trumpet/Cornet/Flugelhorn, Trombone, Bass Trombone, Baritone/Euphonium, Tuba. Jazz Trumpet, Jazz Trombone. A flexible Ensemble syllabus is also available, catering for all types of ensemble from duets and trios up to concert bands and brass bands. Six levels are offered, ranging from Grades 1 2 to DipLCM standard. Syllabuses are available free of charge from the LCM Exams office or from local representatives, or may be downloaded from the LCM Exams website. 3

6 FRENCH HORN: GRADE ONE Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 1.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 60 when played in quavers) Scales and Arpeggios in the following keys and ranges. Scales to be played both tongued and slurred. Arpeggios to be played tongued only. Keys 1 octave melodic OR harmonic (candidate s choice) C major A minor Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A CALLAND Lullaby OR Ready, Steady, Go! from Top Brass (Stainer & Bell) DAVIS Geared Up OR Tiny Minuet from Polished Brass (Brass Wind) GREGSON No. 1 from 20 Supplementary Tunes for Beginner Brass (Brass Wind) HORNER No. 32 from Primary Studies (Elkan-Vogel/UMP) MILLER No. 9 from Simple Studies for Beginner Brass (Faber) NIGHTINGALE No. 2 (Fiesta Siesta) OR No. 4 (Ready, Aim, Fire!) from Easy Jazzy Tudes (treble clef brass) (Warwick) LIST B BEETHOVEN Ecossaise from Horn Music for Beginners (Faber) GERVAISE Allemande from Bravo! Horn in F (Boosey & Hawkes) PURCELL March from Eight Easy Pieces for Horn (arr. Langrish) (OUP/Allegro) PURCELL Rigaudon from World Famous Classics (Fentone) RAMEAU La Villageoise from Eight Easy Pieces for Horn (arr. Langrish) (OUP/Allegro) SUSATO La Mourisque from Ten Easy Tunes for Horn (Fentone/De Haske) LIST C ALAN Ancient Towers from First Recital Series for F Horn (Curnow) BOURGEOIS Cornucopia from Up Front Album for F Horn, Book 1 (Brass Wind) CAMPBELL Chorale from Horn Solos, Book 1 (Faber) CARSE Little Serenade from Two Easy Pieces (Stainer & Bell) GANGE Melody from The Jaunty Horn (Piper) GUNNING Sad Cafe from The Really Easy Horn Book (Faber) JOHNSON Evening Shadows from First Recital Series for F Horn (Curnow) PEARSON Stepwise from The Really Easy Horn Book (Faber) PREMRU Wimbledon Waltz from Up Front Album for F Horn, Book 1 (Brass Wind) RANDALL Swings and Roundabouts for Horn and Piano (Broadbent and Dunn) RIDGEON Hopscotch, No. 1 from Nine Miniatures for French Horn (Brass Wind) 4

7 RUNSWICK New Boogie from Up Front Album for F Horn, Book 1 (Brass Wind) STRAVINSKY Andante OR Balalaika from Starting Out (arr. Skirrow) (Spartan Press) TRAD. Russian Lullaby from Horn Solos, Book 1 (Faber) WEDGWOOD Cheeky Cherry from Really Easy Jazzin About for Horn (Faber) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 5

8 FRENCH HORN: GRADE TWO Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 2.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 60 when played in quavers) Scales and Arpeggios in the following keys and ranges. Scales to be played both tongued and slurred, piano and forte. Arpeggios to be played tongued only, piano and forte. Keys 1 octave melodic AND harmonic D major B flat major B minor D minor Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A CALLAND Brass Bells OR Blowing Blue from Top Brass (Stainer & Bell) DAVIS Jumping Jack Rap OR Rat Rag from Polished Brass (Brass Wind) HORNER No. 30 from Primary Studies (Elkan-Vogel/UMP) MILLER No. 21 from Simple Studies for Beginner Brass (Faber) NIGHTINGALE No. 7 (The Sleuth) OR No. 8 (Three-Step) from Easy Jazzy Tudes (treble clef brass) (Warwick) SPARKE No. 12 OR No. 13 from Skilful Studies for Horn (Anglo) LIST B ARBEAU Pavane from Horn Solos, Book 1 (Faber) BEETHOVEN German Dance from Horn Music for Beginners (Faber) COURT March Majestic from First Recital Series for F Horn (Curnow) GANGE Slow Dance from The Jaunty Horn (Piper) HAYDN St Anthony Chorale from Horn Solos, Book 1 (Faber) RANDALL Marching Tune (Broadbent and Dunn) LIST C BISSILL Promenade from Going Solo for Horn (Faber) BRIGHTMORE Sad Story from Three Easy Solos (Emerson) BULLARD Circus Rock from Circus Skills for Horn (Spartan Press) CAMPBELL Hunting Song from Horn Solos, Book 1 (Faber) CURNOW The Red Balloon from First Recital Series for F Horn (Curnow) DI CAPUA O sole mio from All Jazzed Up for F Horn (Brass Wind) GANGE A Jaunty Tune from The Jaunty Horn (Piper) GREGSON Gavotte, No. 6 from Nine Miniatures for Horn in F (Brass Wind) GUNNING Rag Doll, No. 9 from The Really Easy Horn Book (Faber) LAWRANCE Occasional Fanfare, No. 5 from Six Modern Pieces (Brass Wind) 6

9 PEARSON Girls and Boys from The Really Easy Horn Book (Faber) SPIRITUAL Nobody Knows from Going Solo Horn (Faber) TCHAIKOVSKY Old French Song from Horn Music for Beginners (Faber) WEDGWOOD Easy Tiger OR Keep Truckin from Really Easy Jazzin About for Horn (Faber) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 7

10 FRENCH HORN: GRADE THREE Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 3.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 60 when played in quavers) Scales and Arpeggios in the following keys and ranges, to be played tongued and slurred, piano and forte: Keys 1 octave a twelfth melodic AND harmonic E flat major G major C minor E minor Chromatic scale starting on C (1 octave) Whole tone scale starting on C (1 octave) Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A CALLAND Keep Moving from Top Brass (Stainer & Bell) DAVIS Horn of Wonder from Polished Brass (Brass Wind) HORNER No. 53 from Primary Studies (Elkan-Vogel/UMP) LAWRANCE Arietta OR Off Beat from Featuring Melody for Treble Brass (Brass Wind) MAXIME-ALPHONSE No. 6 from 200 New Studies for Horn, Book 1 (Leduc/UMP) MILLER No. 29 from Simple Studies for Beginner Brass (Faber) SPARKE No. 30 OR No. 33 from Skilful Studies for Horn (Anglo) LIST B FAURÉ Pavane from Easy Winners for Treble Brass (Brass Wind) GOSSEC Tambourin from World Famous Classics (French Horn) (Fentone) HANDEL Largo from World Famous Classics (French Horn) (Fentone) HANMER Prelude from Suite for Horn (Emerson) MOZART Andante from La ci darem la mano from First Recital Series for F Horn (Curnow) RANDALL Serenade (Broadbent and Dunn) LIST C BISSILL Sad Song from Going Solo for Horn (Faber) BRIGHTMORE No. 3 from Three Easy Solos (Emerson) BULLARD Tightrope Walker from Circus Skills for Horn (Spartan Press) CARR Foot it Featly from Up Front Album for F Horn, Book 2 (Brass Wind) DVOŘÁK Slavonic Dance from Up and Running (arr. Skirrow) (Spartan Press) HENSHER Ragtime Horn from Ten Easy Tunes for Horn (Fentone/De Haske) HUMPHRIES Minuet and Trio from Ten Easy Tunes (Fentone/De Haske) JOHNSON Excursion from First Recital Series for F Horn (Curnow) PARKER Penguin Parade from Top Line Album for Horn (Brass Wind) RIDGEON Introduction and Dance from Nine Miniatures for F Horn (Brass Wind) 8

11 SIMAKU The Blossoming Rose from Six Albanian Folksongs (Emerson) TCHAIKOVSKY Humoresque from Going Solo Horn (Faber) WIGGINS Tally Ho! from The Horn Player s Debut (Studio) WOOLFENDEN Space Patrol from Up Front Album for F Horn, Book 2 (Brass Wind) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 9

12 FRENCH HORN: GRADE FOUR Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 4.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 72 when played in quavers) Scales and Arpeggios in the following keys and ranges, to be played tongued and slurred, piano and forte: Keys a twelfth 2 octaves melodic AND harmonic E major F major B flat major F minor B minor Chromatic scale starting on A (a twelfth) Whole tone scale starting on F (2 octave) Dominant 7th arpeggio in the key of C (1 octave) Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A CALLAND Wistful Waltz from Top Brass (Stainer & Bell) DAVIS Irish Jig from Polished Brass (Brass Wind) FRANZ No. 5 from Complete Method for the French Horn (Carl Fischer/Boosey & Hawkes) HORNER No. 62 from Primary Studies (Elkan-Vogel/UMP) LAWRANCE Romance from Featuring Melody for Treble Brass (Brass Wind) MAXIME-ALPHONSE No. 10 from 200 New Studies, Book 1 (Leduc/UMP) SPARKE No. 32 from Skilful Studies for Horn (Anglo) LIST B HUMPERDINCK Hansel and Gretel from Horn Talk (Brass Wind) LAWRANCE Fanfare and Response from In Concert for F Horn (Brass Wind) MENDELSSOHN Nocturne from Horn Solos, Book 1 (Faber) OFFENBACH Barcarolle from Classic Experience Collection for Horn (Cramer) BACH, arr. Stolzel Bist du bei mir from World Famous Classics (Fentone) TARTINI Sarabande from Festive Baroque for Horn (De Haske) LIST C BAKER Cantilena (Chester/Music Sales) BISSILL Waltz to Take Away from Going Solo Horn (Faber) BIZET Theme from L Arlesienne from Going Solo Horn (Faber) CARR Ghosts of Fountains Abbey from Top Line Album for Horn in F (Brass Wind) CARSE Scherzando from Two Easy Pieces (Stainer & Bell) DAMASE Berceuse Op. 19 (Leduc/UMP) HANMER Finale from Suite for Horn (Emerson) 10

13 HORVIT March from Circus Suite (Southern Music) KHACHATURIAN Adagio from Classic Experience Collection for Horn (Cramer) LLOYD WEBBER Summer Pastures, No. 5 from Country Impressions (Stainer & Bell) PUCCINI Nessun Dorma from Going Solo Horn (Faber) SATIE Gymnopedie No. 2 from Up and Running (arr. Skirrow) (Spartan Press) SIMAKU Wedding Song from Six Albanian Folksongs (Emerson) TCHAIKOVSKY Theme from Symphony No. 5 from Horn Solos, Book 1 (Faber) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 11

14 FRENCH HORN: GRADE FIVE Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 5.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 72 when played in quavers) Scales and Arpeggios in the following keys and ranges, to be played tongued and slurred, piano and forte: Keys 2 octaves melodic AND harmonic G major D major E flat major D minor E minor E flat minor Chromatic scale starting on G (2 octaves) Whole tone scale starting on G (2 octaves) Dominant 7th arpeggio in the key of G (2 octaves) Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A CALLAND The Distant Horizon from Top Brass (Stainer & Bell) DAVIS Heads or Tails from Polished Brass (Brass Wind) FRANZ No. 8 OR No. 11 from Complete Method for French Horn (Carl Fischer/B&H) HORNER No. 82 from Primary Studies (Elkan-Vogel/UMP) LAWRANCE Hornpipe OR Syncopated Dance from Featuring Melody for Treble Brass (Brass Wind) SCHULLER No. 1 from Studies for Unaccompanied Horn (OUP) LIST B BISSILL March of the Gimps from Going Solo Horn (Faber) CHERUBINI Sonata No. 1 from Two Sonatas (G Schirmer/Music Sales) DAMASE Berceuse (Leduc/UMP) FAURÉ Pie Jesu from Requiem, Op. 48 (De Haske) HANDEL Mirth Admit Me of Thy Crew from Horn Solos, Book 2 (Faber) MOZART Romance from Concerto No. 3, K. 447 (Barenreiter) LIST C BISSILL Forthright Fanfare from Going Solo Horn (Faber) COPLAND Fanfare for the Common Man from Copland for Horn (Boosey & Hawkes) DUNHILL No. 1 AND No. 2 from Cornucopia (Boosey & Hawkes) HARDY Moody Horn (UMP) HORVIT Lions and Tigers from Circus Suite (Southern Music) LEDBURY Bagatelle from Cornucopia for Horn in F (Brass Wind) ORR Serenade (Schott) 12

15 PARKER Blues Train from Top Line Album for Horn in F (Brass Wind) RAMSKILL In the Fast Lane from Jazzed Up Too (Horn in F) (Brass Wind) SAINT-SAËNS Romance in F, Op. 36 (Durand/UMP) SKRYABIN Romance (Billaudot/UMP) SONDHEIM Send in the Clowns from A Little Light Music for French Horn (Brass Wind) WILLIAMS Raiders March from Great Winners for Treble Brass (Brass Wind) WOOLFENDEN Shore Dance from Horn Dances (Brass Wind) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 13

16 FRENCH HORN: GRADE SIX Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 6.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 60 when played in semiquavers) Scales and Arpeggios in the following keys and ranges, to be played tongued and slurred, piano and forte: Keys 2 octaves melodic AND harmonic A major A flat major D flat major F sharp major C sharp minor G minor A minor Chromatic scale starting on D and E (2 octaves) Whole tone scale starting on D (2 octaves) Dominant 7th arpeggio in the keys of C and A (2 octaves) Diminished 7th arpeggio beginning on G (2 octaves) Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A FRANZ Etude No. 15 OR No. 20 from Etudes and Concert Etudes (Kalmus) HORNER No. 87 OR No. 90 from Primary Studies (Elkan-Vogel/UMP) KOPPRASCH No. 17 OR No.2 5 from 60 Studies Book 1 (International Music Company/MDS) LAWRANCE Restless from Featuring Melody for Treble Brass (Brass Wind) MAXIME-ALPHONSE No. 12 from 200 New Studies, Book 3 (Leduc/UMP) SCHULLER No. 4 from Studies for Unaccompanied Horn (OUP) LIST B BOYCE First movement from Symphony No. 4 from O Solo Mio for F Horn (Brass Wind) DANZI Romanze from Concerto in E flat (Peters) HANDEL I See a Huntsman from Solos for the Horn Player (G Schirmer/Music Sales) MOZART Larghetto and Rondo from Concerto No. 3, K. 447 (Breitkopf) MOZART Andante from Concerto No. 2 in E flat, K. 417 (Barenreiter) ROSETTI Romanze (complete) from Concerto in D minor (Simrock) LIST C BOZZA En Irlande (Leduc/UMP) BRAHMS Scherzo from Serenade in D from Solos for the Horn Player (G Schirmer/Music Sales) DUNHILL No. 3 AND No. 4 from Cornucopia (Boosey & Hawkes) EAST No. 1 AND No. 2 from Four Occasional Pieces (Ricordi) 14

17 HINDEMITH Second movement from Horn Sonata (Schott) JACQUES Cantilena and Fanfare from Four Bagatelles for Horn and Piano (Stainer & Bell) KODÁLY Intermezzo from Háry János from Absolutely Horn (Brass Wind) LAWRANCE Elegy OR Carnival from In Concert for F Horn (Brass Wind) RANDALL Lullaby for Horn and Piano (Broadbent & Dunn) RIDOUT First movement from Concertino for Horn (Emerson) STRAUSS, F Nocturno Op. 7 (Universal Edition) STRAUSS, R Andante (Op. Posth.) (Boosey & Hawkes) WAGNER Tannhäuser Overture from Horn Talk (Brass Wind) WOOLFENDEN War Dance from Horn Dances (Brass Wind) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 15

18 FRENCH HORN: GRADE SEVEN Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 7.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 60 when played in semiquavers) Scales and Arpeggios in the following keys and ranges, to be played tongued and slurred, piano and forte: Keys 2 octaves melodic AND harmonic All major keys All minor keys Chromatic scale starting on any note (2 octaves) Whole tone scale starting on A and B (2 octaves) Dominant 7th arpeggio in the keys of B flat, B, D flat and D (2 octaves) Diminished 7th arpeggio beginning on C and A flat (2 octaves) Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A BOURGEOIS No. 2 from Fantasy Pieces for Horn (Brass Wind) FRANZ Etude No. 18 OR No. 19 from Etudes and Concert Etudes (Kalmus) KOPPRASCH No. 15 OR No. 28 from 60 Studies, Book 1 (International Music Company/MDS) LAWRANCE La Chase from Featuring Melody for Treble Brass (Brass Wind) MAXIME-ALPHONSE No. 37 from 200 New Studies, Book 3 (Leduc/UMP) SCHULLER No. 2 from Studies for Unaccompanied Horn (OUP) LIST B BEETHOVEN Scherzo from Septet from Solos for the Horn Player (G Schirmer/Music Sales) BORODIN Intermezzo No. 1 from Five Pieces from Little Suite (MusT) CHABRIER Espana from Horn Talk (Brass Wind) HUMMEL Third movement from Sonatine for Horn, Op. 75a (Schott) MOZART Concerto No. 1 in D, K. 412 from Four Horn Concertos (G Schirmer/Music Sales) ROSETTI Rondo from Concerto in D minor (Simrock) LIST C ABBOTT Alla Caccia (Arcadia/Weinberger) BARTOS Rondo from Adagio Elegiaco e Rondo (Schott) BOZZA Chant Lointain (Leduc/UMP) BRAHMS Third movement from Symphony No. 3 from Horn Talk (Brass Wind) CARR Idyll from A Day in the Country (Broadbent & Dunn) CLEWS Burlesca and Serenata from Partita for Horn (Patersons) COOKE Rondo in B flat (Schott) DAMASE Pavane Variée (Lemoine/UMP) DUNHILL No. 5 AND No. 6 from Cornucopia (Boosey & Hawkes) GLAZUNOV Reverie, Op. 24 (Peters) HINDEMITH First movement from Horn Sonata (Schott) 16

19 NIELSEN Canto Serioso (Skandinavisk Musikforlag/Music Sales) RAVEL Pavane pour une infante défunte from Solos for the Horn Player (G Schirmer/Music Sales) RIDOUT Second AND Third movement from Concertino for Horn (Emerson) WOOLFENDEN Sword Dance from Horn Dances (Brass Wind) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 17

20 FRENCH HORN: GRADE EIGHT Component 1 - Technical Work 15 marks FLEXIBILITY LAWRANCE Ex 8.1 from Graded Lip Flexibilities for Horn in F/B flat (Brass Wind) SCALES AND ARPEGGIOS (ascending and descending, from memory) (suggested tempo: m.m. crotchet = 72 when played in semiquavers) Keys 2 octaves 3 octaves hand stopped melodic AND harmonic A, B flat and B major All other major keys A, B flat and B minor All other minor keys B major A minor Chromatic scales starting on A, B flat and B (3 octaves) or any other note (2 octaves) Whole tone scale starting on A, B flat and B (3 octaves) Dominant 7th in all keys, all inversions (2 octaves) Diminished 7th starting on any note (2 octaves) Component 2 - Performance 60 marks Performance of three pieces, one from each list: A, B and C. LIST A BOURGEOIS No. 3 OR No. 5 from Fantasy Pieces for Horn (Brass Wind) DAVIES Le Basquish from Four Studies (Broadbent & Dunn) FRANZ Etude No. 26 from Etudes and Concert Etudes (Kalmus) HORNER No. 96 OR No. 100 from Primary Studies for the French Horn (Elkan-Vogel/UMP) KOPPRASCH No. 18 OR No. 26 from 60 Selected Studies for Horn, Book 1(International Music Company/MDS) SCHULLER No. 3 from Studies for Unaccompanied Horn (OUP N8777) LIST B BACH Quoniam Tu Solus Sanctus from Absolutely Horn (Brass Wind) BEETHOVEN First movement OR Second and Third movements from Sonata Op. 17 (Peters P149) CHERUBINI Sonata No. 2 from Two Sonatas (G Schirmer/Music Sales) HAYDN First OR Third movement from Concerto No. 1 in D (Breitkopf) MOZART Rondo in E flat, K. 371 (Barenreiter) ROSETTI First OR Third movement from Horn Concerto in E flat (International Music Company/MDS) LIST C ARNOLD Fantasy for Horn, Op. 88 (Faber) AUBIN Third movement from Horn Concerto (Leduc/UMP) BOZZA En Forêt (Leduc/UMP) BRUCKNER Second movement from Symphony No. 7 from Absolutely Horn (Brass Wind) CARR The Happy Fox from A Day in the Country (Broadbent) FARNON Conversation and Games (Complete) (Warwick) GOMELSKAYA Bagatelle (Guildhall) 18

21 HINDEMITH Third movement from Horn Sonata (Schott) NEULING Bagatelle (Pro Musica/Hans Gerig) POULENC Elégie (Chester/Music Sales) RANDALL Nocturne and Scherzo for Horn and Piano (Broadbent & Dunn) SAINT-SAËNS Romance in E, Op. 67 (Hamelle/UMP) STRAUSS Allegro OR Andante from Concerto Op. 11 (Universal Edition) VINTER Hunter s Moon (Boosey & Hawkes) Component 3 - Viva Voce 7 marks See pages Component 4 - Sight Reading 10 marks Up to one minute s preparation time will be allowed to study the test before playing, during which the candidate may try parts of the test if they wish. Component 5 - Aural Tests 8 marks See pages Specimen tests and a handbook are available (details on page 3). 19

22 Viva Voce Notes: 1. All questions and answers are verbal. Candidates are not expected to demonstrate on their instrument or to sing; but they may choose to do so if they feel that this would clarify their answer. 2. There is no set form of words, or number of questions. Examiners are encouraged to conduct the tests in a flexible and conversational manner. The number of questions asked, and the content of the questions, may differ from candidate to candidate. However, the prime focus for the Viva Voce will always be the music performed in the Performance section of the exam. 3. The knowledge required for the Viva Voce is cumulative for Grades 1-8; i.e. any knowledge required in earlier grades is required for later grades. 4. Although accuracy and appropriateness of response are the principal criteria of assessment, examiners will also look for articulacy, use of correct terminology, and a sense of engagement with, and understanding of, the music performed. Requirements: GRADES 1 AND 2 Candidates should be able to: name, and explain the meaning of, all basic notational elements in the music performed in the Performance component of the exam, including: staff, bars and bar-lines, clefs, pitches of individual notes, rhythmic values of notes and rests (including dotted notes), key and time signatures, accidentals, dynamics, articulation markings, phrases, ornaments, and any additional markings; explain which is their favourite piece and why; assign simple descriptive words to pieces to describe their mood ('happy', 'sad', 'bouncy', 'jazzy', 'gentle', etc.) GRADE 3 In addition to the requirements for Grades 1 and 2, candidates may be asked to: identify intervals up to and including a fifth by numerical value only (e.g. 'second', 'fourth', etc.); describe the mood or character of pieces using appropriate descriptive terminology ('fast and lively', 'gentle and flowing', 'like a dance', etc.); identify contrasts of mood within pieces; discuss any pictorial or descriptive element of the music. GRADE 4 In addition to the requirements for Grades 1-3, candidates may be asked to: identify intervals up to and including an octave by numerical value only (e.g. 'fourth', 'seventh', etc.); demonstrate basic knowledge of composers of the music performed, including their nationality and approximate dates; discuss their approaches to learning the pieces, and to identify any particular difficulties (musical or technical) which were encountered; demonstrate a basic understanding of the workings of their instrument, and to name its principal constituent parts. 20

23 GRADE 5 In addition to the requirements for Grades 1-4, candidates may be asked to: identify intervals up to and including an octave by number and type (e.g. 'Major 2nd', 'Perfect 4th', etc.); demonstrate knowledge of basic formal structures (e.g. contrasting or repeated sections); identify principal modulations (by naming the new key or its relationship to the home key); identify major and minor chords as occurring in the music (either as chords or as melodic patterns); identify the historical period of the music performed (Renaissance, Baroque, etc.). GRADE 6 In addition to the requirements for Grades 1-5, candidates may be asked to: discuss their personal responses to the music performed: the extent to which they like or dislike it, or find it challenging or rewarding, and why; approaches to learning the music, including the use of certain techniques, and aspects of interpretation; identify melodic and harmonic features of the music (e.g. sequence, melodic inversion, circle of 5ths, pedal points, etc.); demonstrate knowledge of formal structures (e.g. ternary, binary, rondo etc.); demonstrate a self-critical awareness of their own performance, indicating to the examiner which aspects of their performance they were happy or unhappy with, and why. GRADE 7 In addition to the requirements for Grades 1-6, candidates may be asked to: identify more complex chords, including sevenths and dissonances, as occurring in the music (either as chords or as melodic patterns); identify cadences; give basic biographical information about the composers of the music performed; demonstrate awareness of the historical and stylistic context of the music; demonstrate a widening musical awareness a little beyond the music performed. GRADE 8 In addition to the requirements for Grades 1-7, candidates may be asked to: demonstrate knowledge of other music by the same composers; identify any interval by number and type; discuss with the examiner a range of issues arising from the music performed, demonstrating evidence of a rounded musical awareness, in terms both of the repertoire itself, and the candidate's response to it as a performer. 21

24 Aural Tests Notes: 1. GRADE 1 TEST 1(b); GRADE 3 TEST 2(b): where a candidate wishes to respond to either of these tests in the alternative manner as specified, the examiner must be informed in advance of the tests being administered. This may be done either via the Centre representative or attendant on the day (in advance of the examination), or by the candidate (in the examination, in advance of the tests). 2. In tests where the identification of note values (rhythmic values) is required, such as Grade 2, test 1(c), candidates are required to respond by listing the rhythmic values in the order in which they occur in the extract, e.g. 'minim, crotchet, crotchet' or 'minim, four quavers'. 3. In tests where a sung response is required, candidates may use any clear and appropriate syllable or vowel sound (e.g. 'ah', 'la', 'oo', etc.) They may also hum or whistle. Candidates may request tests to be transposed if required by their vocal range. Candidates may play back such tests on their instrument if they prefer; in this case, examiners must be informed prior to the administration of the tests (see note 1 above). 4. In tests where responses describing pitch are required, candidates may use letter-names (A, B, C, etc.), tonic sol-fa (doh, re mi, etc.), or number (1, 2, 3, etc., or 1st, 2nd, 3rd, etc.) (Where a minor key is used, it will be assumed that doh=tonic.) 5. Please note that from Grade 2 onwards, candidates are required to beat time (i.e. conduct), NOT to tap or clap the pulse. They may join in during the initial playing, or a second playing may be given. 6. Candidates may request any test to be given one repeat playing without loss of marks. 7. Please note that in all cases, examiners will use a piano to conduct the tests. Examiners will ask candidates to stand or sit in such a position that they cannot see the piano keyboard. 8. Please note that the printed wording is a guide only. Examiners are encouraged to conduct the tests in a conversational manner. Requirements: GRADE 1 Rhythm A short harmonised passage, of approximately 6-8 bars in length, will be played. The passage will be in either 2/4 or 3/4 time. Candidates will be asked to: 1 (a) identify the time signature as 2 or 3 time (2 marks). 1 (b) clap or tap on each pulse beat, in time, in 2 or 3 time, accenting the first beat of each bar, as the examiner plays the passage again (2 marks). Candidates may elect to respond to tests 1(a) and 1(b) in reverse order. In this case, the examiner should be informed in advance of the tests being administered (see Note 1 above). Pitch Two notes of different pitches will be played, one after the other. Candidates will be asked to: 2 (a) identify as first or second which of the two notes is EITHER the higher OR the lower, at the examiner's discretion (1 mark). The two notes will be played again. Candidates will be asked to: 2 (b) sing back one of the two notes (EITHER the first OR the second, at the examiner's discretion) (1 mark). The key-chord of a major key will be played, followed by a short unharmonised melody in the same key, of approximately 4 bars in length. The examiner will stop playing before the final (tonic) note. The candidate will be asked to: 2 (c) sing clearly the missing final tonic (2 marks). 22

25 GRADE 2 Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 3/4 or 4/4 time. Candidates will be asked to: 1 (a) identify the time signature as "3" or "4" time (1 mark). 1 (b) beat (conduct) time, with a clear beat-shape (conducting pattern), in time with the examiner s playing, as the examiner plays the passage again (1 mark). The examiner will select one bar from the passage, and will play it in an unharmonised version. Candidates will be asked to: 1 (c) identify and describe the note values (rhythmic values of the notes) in the bar (2 marks). Pitch A major or minor triad will be played, followed by one note taken from the triad. Candidates will be asked to: 2 (a) identify the note as bottom, middle or top OR Doh, Mi or Soh OR root, 3rd or 5th (candidate's choice) (1 mark). The triad will be played again. Candidates will be asked to: 2 (b) state if the triad is major or minor (1 mark). The key-chord of a major key (C, F, G, and D majors only) will be played, and the key stated, followed by the first five notes of the scale in ascending order. The examiner will then play any ONE of these notes again. Candidates will be asked to: 2 (c) identify the note, EITHER by letter name OR by tonic sol-fa name OR by number (1, 2, 3, 4 or 5) as elected by the candidate (1 mark). The test will be repeated, using a different example (1 mark). GRADE 3 Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in 6/8 time. Candidates will be asked to: 1 (a) beat (conduct) time, with a clear beat-shape (conducting pattern), 2 beats in the bar (NOT 6 beats in the bar), in time with the examiner s playing, as the examiner plays the passage again (1 mark). The candidate will be shown three lines of music (marked 1, 2 and 3), each of which will contain four individual bars of music in 6/8 time (marked a, b, c and d). The examiner will indicate which line of music is being used. One of the bars on that line will be played, twice. Candidates will be asked to: 1 (b) indicate which bar (a, b, c or d) has been played (1 mark). The test will be repeated, using a different example (1 mark). Pitch An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The intervals will be restricted to the following: Major 2nd, Major 3rd, Perfect 4th, Perfect 5th. Candidates will be asked to: 2(a) identify the interval, by numerical value only (2nd, 3rd, 4th, 5th) (1 mark). The test will be repeated, using a different interval (1 mark). The key-chord of a major or minor key (C, G, D, F and Bb majors; A and E minors only) will be played, and the key stated. A short unharmonised melody, in the same key, of approximately 3 bars in length, will be played, twice. Rhythms will be limited to crotchets, quavers, minims, dotted minims and semibreves. Candidates will be asked to: 2 (b) sing back the melody (3 marks). Candidates may elect to respond to test 2(b) by playing the melody on their instrument, instead of singing. In this case, the examiner should be informed in advance of the tests being administered (see note 1 above). 23

26 GRADE 4 Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 2/4, 3/4, 4/4 or 6/8 time. Candidates will be asked to: 1 (a) beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the time signature of the music, in time with the examiner's playing, as the examiner plays the passage again. (Passages in 6/8 time should be conducted with a 2-beat pattern). (2 marks). A short phrase, of approximately 2 bars in length, taken from the passage, will be played in an unharmonised version, twice. The phrase will include no rhythmic values shorter than a semiquaver, but may include simple dotted patterns. Candidates will be asked to: 1 (b) clap or tap back the rhythm of the phrase (2 marks). Pitch An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The interval will be restricted to any major, minor or perfect interval up to and including an octave. Candidates will be asked to: 2(a) identify the interval, by numerical value and type (1 mark). The test will be repeated, using a different interval (1 mark). The candidate will be shown three similar versions of a short melody (marked 1, 2 and 3). The versions will differ in pitch, but not in rhythm. One of the versions will be played, twice. Candidates will be asked to: 2 (b) identify which version was played (2 marks). GRADE 5 Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 2/4, 3/4, 4/4, 6/8 or 6/4 time. Candidates will be asked to: 1 (a) beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the time signature of the music, in time with the examiner's playing, as the examiner plays the passage again. (Passages in 6/8 or 6/4 time should be conducted with a 2-beat or 6-beat pattern as appropriate). (2 marks). A short phrase, of approximately 2 bars in length, taken from the passage, will be played in an unharmonised version, twice. Candidates will be asked to: 1 (b) identify and describe the note values (rhythmic values of the notes) in the phrase (2 marks). Pitch An interval will be played twice, with the pitches sounded together. The interval may be any major, minor or perfect interval within the octave, as well as the augmented 4th / diminished 5th. Candidates will be asked to: 2(a) identify the interval, by type and numerical value (1 mark). The test will be repeated, using a different interval (1 mark). The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to: 2 (b) identify the cadence, either by its conventional name, or as finished (perfect and plagal) or unfinished (imperfect or interrupted) (1 mark). The test will be repeated, using a different example (1 mark). 24

27 GRADE 6 1(a) 1(b) 1(c) 1(d) 1(e) Rhythm and Pitch A harmonised passage, in simple time, of not more than six bars in length, and containing some syncopated patterns, will be played, twice. Candidates will be asked to: identify the time signature (1 mark). identify whether the passage is in a major or minor key (1 mark). identify, by number and type, any interval within the octave, occurring in the melody-line between two succeeding notes. These pitches will be played again, first as occurring in the melody, and then with the pitches sounded together (1 mark). A short phrase from the passage, of 1-2 bars in length, will be played again in an unharmonised version. Candidates will be asked to: clap or tap back the rhythm of the phrase (1 mark). identify and describe the note values (rhythmic values) in the phrase (2 marks). Pitch The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, or interrupted) in the home key. Candidates will be asked to: 2 (a) identify the cadence by its conventional name (1 mark). The key-chord of a major key will be sounded, and the key named. A short harmonised passage in the same key, of approximately 4 bars in length, will be played. The passage will contain one modulation to a related key (dominant, subdominant, or relative minor), finishing with a perfect cadence in that key. Candidates will be asked to: 2 (b) identify the key into which the passage has modulated, either by name or by relationship to the home key (candidate's choice) (1 mark). GRADE 7 1 (a) A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once. Candidates will be asked a selection of the following: to identify the time signature to identify whether the passage is in a major or minor key to describe the overall dynamics to describe the basic overall form (this will be limited to AB, ABA, AAB, ABAB, AABA) (2 marks). 1 (b) The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings. The passage will be played once again in full; further shorter sections may also be played again. Candidates will be asked a selection of the following: to suggest an appropriate tempo marking to describe changes in tempo to name the key to describe phrasing patterns to describe dynamics to describe articulation to identify modulations to identify ornaments to confirm their description of the form (4 marks). 2. The key-chord of a major or minor key will be sounded. A short harmonised passage in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to: identify the cadence by its conventional name. (1 mark). The test will be repeated, using a different example (1 mark). 25

28 GRADE 8 1. A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once. Candidates will be asked a selection of the following: to identify the time signature; to identify whether the passage is in a major or minor key; to suggest an appropriate tempo marking; to describe and identify any particularly noticeable aspects of the dynamics, phrasing, articulation, modulation, ornamentation, texture, etc. (examiners may play certain extracts from the passage again); to suggest a musical style (Renaissance, Baroque, Classical, Romantic, Twentieth Century or Modern, Jazz / Popular); to identify any interval in the melodic line between two successive notes, up to and including a Major 10th (the two pitches will be played again, as occurring in the melody); to clap back, or identify and describe the note values (rhythmic values) of, a short phrase of 1-2 bars in duration, taken from the passage and played again in an unharmonised version; to identify a cadence, taken from the passage, played again by the examiner (4 marks). 2. The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings. The passage will be played once again in full; further shorter sections, of up to 4 bars in length, may also be played again, sometimes with changes in phrasing, tempo, articulation and/or dynamics. Candidates will be asked a selection of the following: to name the key to identify modulations to identify ornaments to describe the overall form (in addition to those specified for Grade 7, these may include ABCA, ABCBA, AA'BA, ABA'B, and similar structures, as well as more organic forms, or forms based on imitative or fugal structures); to identify simple melodic, rhythmic or harmonic devices, such as sequence, inversion, repetition, pedal points, augmentation / diminution, motivic development, etc. to identify changes in phrasing, tempo, articulation and/or dynamics, in short passages, of up to 2 bars in length, played in two different styles by the examiner (4 marks). 26